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duced the series before 1575; cp. Hansel 1991, pp. 128-
129. A more precise date can be deduced from an adver­
tisement by Philips Gallc in the catalogue for one of the
book fairs in Frankfort in 1572, which includes the Story
of Lot; Fabian 1972, vol. 1, p. 443. It is also the only series
with the address "ad insigne aurei cervi in platea lom-
bardica veteri" ("at the sign of the Golden Deer in the
Lombardenvest"). The Lombardenvest was probably
Galle s first address in Antwerp, later, somewhere after
1585, he moved to De Witte Lelie (The White Lily) in the
Huidevetterstraat where the family workshop would stay
until the second half of the seventeenth century; cp. chap­
ter 1. On Galle s association with the Spaniard Arias
Montano, also see chapter 2.
62. The title on the first plate reads: "IESU
CHRISTI DIGNITATIS VIRTUTIS ET EFFICIEN
TIAE PRAENUNTIIS SYBILLIS X " On the Sibyb
see Hollstein, vol 2, p. 59, nos. 19-28; idem, vol. 7, p. 78,
nos.275-286;TIB.56,pp.231-240,nos.66:l-10;jostl960,
pp. 46-61 and pp. 167-175, nos. Ill, 6-15 and Hansel 1991,
p. 129. At an unknown (later) date two engravings were
added to the series. These were neither designed by
Blocklandt, nor engraved by Galle; cp. jost 1960, p. 46.
The iconography of this series is discussed in detail in
Anneloes Smits's doctoral thesis (Free University,
Amsterdam) on engraved series of sibyls in the
Netherlands in the sixteenth and seventeenth century,
kindly put at my disposal by the author; Smits 1995,
pp. 68-76. On the iconography of sibyls in general, cp. De
Clercq 1979 and De Clercq 1980.
63. Jost s suggestion that such series as the Story of
Lot and the Sibyls were intended as Catholic propaganda
to be spread in the Northern Netherlands is untenable;
cp. jost 1960, pp. 46-47. In contrast to the above engrav­
ing of the Last Supper, these series show no signs at all of any
specific Catholic iconography. On die contrary, both subjects
were entirely acceptable to both Protestants and Catholics.
64. The. Virgin on the clouds (1578); Hollstein, vol.
2, p. 59, no. 15; idem, vol. 7, p. 77, no. 156;TIB. 56, p. 209,
no. 57;Jost 1960, pp. 61-62 and pp. 176-177, nos. Ill, 17.
One of the engravings Galle published after Blocklandt
was, as stated in note 44, engraved by Hendrick Goltzius.
The latter s elegant and flowing lines of the burin were
very well suited to incise compositions after designs by
Blocklandt. Thus it is not surprising to find two other
Notes Chapter 4
192
engravings - dated 1582 and 1583 respectively - after
Blocklandt among the very first works Goltzius published
on his own account in Haarlem. Cp. Filedt Kok 1991-92,
pp. 163-465,207, nos. 1 and 6.The painters death in 1583
put an early stop to this collaboration.
65. On the portraits, see Virorum dociorum effigies
(1572) and chapter 2; on the book of triumphal arches,
see Arms aliquot triumphaks (1572) and chapter 1.
66. The precise printing history of the Divinamm
nuptiarum and its immediate counterpart Christijesu vitae
speculum is complicated and, at this point, impossible to
reconstruct exactly. A small number of first editions of
both issues was probably published in 1573, with Latin
distiches in letterpress in the margins. There are both
copies with separate (letterpress) numbering for each pub­
lication - nos. 1-28 and 1-50 respectively - and copies
with a continuous numeration 1-78 for the combined
booklets. The most accurate description of these and all
later (see below) editions is found in Mauquoy Hendrickx
1978-83, vol. 3a, pp. 395-397.To these should be added a
series of proof impressions of the Divinamm nuptiarum,
without any inscriptions in the margin (Antwerp,
Museum Plantin Moretus).
67. Mauquoy Hendrickx very much doubts that
Johannes Wierix is the engraver of the whole series and
cautiously only lists the five prints signed with his mono­
gram - one from the Divinamm nuptiarum and four from
the Christijesu vitae speculum - in her catalogue; Mauquoy
Hendrickx 1978-83, vol. 3a, pp. 395-397, nos. 1978-1982.
On Gerard Groenning as an engraver and draughtsman,
see Thieme/Becker, vol. 15, pp. 70-71; Mielke 1967,
pp. 156-180: Lugt 1968, p. 125, no. 605 (on one of
Groennings few signed drawings, documenting the artist
as an glass engraver working m An twerp), Boon 1992, vol.
1, pp. 213-214 and Mielke 1995, Due to appear in 1997is
a checklist of engravings by and after Groenning, based
on the late Hans Mielke s research (Mielke 1996a).In 1997
this list will be fully catalogued in a volume of the New
Hollstein series; editor Chris Scfmckman kindly allowed
me access to the manuscript of this forthcoming publica­
tion.
68. The original Latin verses by Arias Montano
were now, in a different type of letter, set in the margins;
the French verses were typographically printed on the